A pimp with no other means to provide for himself finds his life spiraling out of control when his prostitute is sent to prison.


(story), (screenplay) | 1 more credit »

Watch Now

$0.00 with Prime Video

Nominated for 1 BAFTA Film Award. Another 2 wins & 2 nominations. See more awards »
Learn more

People who liked this also liked... 

Mamma Roma (1962)
    1 2 3 4 5 6 7 8 9 10 7.9/10 X  

After many years working in the streets of Roma, the middle-age whore Mamma Roma (Anna Magnani) saves money to buy an upper class apartment, a fruit stand and retires from the prostitution.... See full summary »

Director: Pier Paolo Pasolini
Stars: Anna Magnani, Ettore Garofolo, Franco Citti
Comedy | Drama
    1 2 3 4 5 6 7 8 9 10 7.5/10 X  

An old man and his son are walking along the road when they suddenly meet a speaking crow, which represents Marxist beliefs. They are soon moved back 750 years in time, changed into monks ... See full summary »

Director: Pier Paolo Pasolini
Stars: Totò, Ninetto Davoli, Femi Benussi
Biography | Drama | History
    1 2 3 4 5 6 7 8 9 10 7.9/10 X  

The life of Jesus Christ according to the Gospel of Matthew. Pasolini shows Christ as a marxist avant-la-lettre and therefore uses half of the text of Matthew.

Director: Pier Paolo Pasolini
Stars: Enrique Irazoqui, Margherita Caruso, Susanna Pasolini
Teorema (1968)
Drama | Mystery
    1 2 3 4 5 6 7 8 9 10 7.3/10 X  

A strange visitor in a wealthy family. He seduces the maid, the son, the mother, the daughter and finally the father before leaving a few days after. After he's gone, none of them can ... See full summary »

Director: Pier Paolo Pasolini
Stars: Silvana Mangano, Terence Stamp, Massimo Girotti
Oedipus Rex (1967)
    1 2 3 4 5 6 7 8 9 10 7.5/10 X  

In pre-war Italy, a young couple have a baby boy. The father, however, is jealous of his son - and the scene moves to antiquity, where the baby is taken into the desert to be killed. He is ... See full summary »

Director: Pier Paolo Pasolini
Stars: Silvana Mangano, Franco Citti, Alida Valli
Porcile (1969)
    1 2 3 4 5 6 7 8 9 10 6.8/10 X  

Two dramatic stories. In an undetermined past, a young cannibal (who killed his own father) is condemned to be torn to pieces by some wild beasts. In the second story, Julian, the young son... See full summary »

Director: Pier Paolo Pasolini
Stars: Pierre Clémenti, Jean-Pierre Léaud, Alberto Lionello
The Decameron (1971)
Comedy | Drama | History
    1 2 3 4 5 6 7 8 9 10 7/10 X  

An adaptation of nine stories from Boccaccio's "Decameron".

Director: Pier Paolo Pasolini
Stars: Franco Citti, Ninetto Davoli, Jovan Jovanovic
Comedy | Drama | History
    1 2 3 4 5 6 7 8 9 10 6.5/10 X  

Pasolini's artistic, sometimes violent, always vividly cinematic retelling of some of Chaucer's most erotic tales.

Director: Pier Paolo Pasolini
Stars: Hugh Griffith, Laura Betti, Ninetto Davoli
Medea (1969)
Drama | Fantasy
    1 2 3 4 5 6 7 8 9 10 7.1/10 X  

To win the kingdom his uncle took from his father, Jason must steal the golden fleece from the land of barbarians, where Medea is royalty and a powerful sorceress, where human sacrifice ... See full summary »

Director: Pier Paolo Pasolini
Stars: Maria Callas, Massimo Girotti, Laurent Terzieff
Love Meetings (1964)
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

Microphone in hand, Pier Paolo Pasolini asks Italians to talk about sex: he asks children where babies come from, young and old women if they are men's equals, men and women if a woman's ... See full summary »

Director: Pier Paolo Pasolini
Stars: Pier Paolo Pasolini, Lello Bersani, Io Apolloni
Drama | War
    1 2 3 4 5 6 7 8 9 10 6/10 X  

Four fascist libertines round up nine adolescent boys and girls and subject them to a hundred and twenty days of physical, mental and sexual torture.

Director: Pier Paolo Pasolini
Stars: Paolo Bonacelli, Giorgio Cataldi, Umberto Paolo Quintavalle
Comedy | Drama | Fantasy
    1 2 3 4 5 6 7 8 9 10 6.9/10 X  

In this film inspired by the ancient erotic and mysterious tales of Mid-West Asia, the main story concerns an innocent young man who comes to fall in love with a slave who selected him as ... See full summary »

Director: Pier Paolo Pasolini
Stars: Ninetto Davoli, Franco Citti, Franco Merli


Cast overview, first billed only:
Vittorio "Accattone" Cataldi
Franca Pasut ...
Silvana Corsini ...
Paola Guidi ...
Luciano Conti ...
Il Moicano
Luciano Gonini ...
Piede D'Oro
Renato Capogna ...
Alfredo Leggi ...
Papo Hirmedo
Galeazzo Riccardi ...
Leonardo Muraglia ...
Giuseppe Ristagno ...
Roberto Giovannoni ...
The German
Mario Cipriani ...
Roberto Scaringella ...


In a seedy section of Rome, Vittorio Cataldi - "Accattone" ("beggar" in Italian) to those that know him - lives off the avails of prostitution, Maddalena being his one and only girl. He is married to Ascenza with who he has one young son named Iaio, but he does not live with them - they who live with her father and brother - provide for them, or play any important part of their lives. He generally hangs out with his similarly slack life friends playing cards and drinking. His source of income is threatened when Maddalena is injured being hit by a motorcyclist, then beaten by rivals of his, which leads to her being arrested and jailed for a year. Largely because of Iaio, Accattone contemplates going straight and getting a real job. Then he meets Stella, a young innocent woman who has had a hard life, but who is not as naive to the ways of the world as she first appears. Accattone falls in love with her, but as the thought of working a steady job now becomes abhorrent, contemplates ... Written by Huggo

Plot Summary | Add Synopsis




See all certifications »




Release Date:

4 April 1968 (USA)  »

Also Known As:

Accattone  »

Filming Locations:


Box Office


ITL 50 (estimated)

Company Credits

Production Co:

,  »
Show detailed on  »

Technical Specs


Sound Mix:

Aspect Ratio:

1.37 : 1
See  »

Did You Know?


Pier Paolo Pasolini's directing debut. See more »


Maddalena: Sing somewhere else - don't spew your booze up here!
See more »


St Matthew Passion
Composed by Johann Sebastian Bach
See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

Pasolini's Roma.
10 June 2005 | by (United States) – See all my reviews

Accattone is a Neo-Realist examination of slovenly irresponsibility, tastelessness and self-pity - you know, the fun stuff. Its principal characters, a group of young upwardly-immobile Roman males, are almost uniformly repulsive, a lot of chest-baring half-savages whose idea of fun is luring a whore to a deserted spot and beating her to within an inch of her life. Its hero, Accattone, is played by one of the more unpleasant actors in the history of film, a fellow named Franco Citti, who manages to single-handedly set the entire nation of Italy back about two-hundred years. It is a film of almost relentless despair, depicting a Rome so desolate and squalid, so bereft of hope, that it seems almost medieval. In the hands of almost any director the movie would be unbearable - either unbearably sentimental or unbearably grim

  • but with Pasolini at the helm it is merely honest.

It isn't Pasolini's best film by a long way, but it may be the clearest example of what made the director so special - his ability to probe around the most revolting recesses of the human condition without seeming sensationalistic, exploitive or crass. It would be easy to go one of two directions with a character like Accattone, a lazy two-bit pimp with a son by a woman who wants nothing to do with him: the sentimental route or the grotesque. One could easily imagine De Sica, the soft-heart of Neo-Realism, turning Accattone into a sympathetic, misunderstood Everyman. And one could just as easily imagine Fellini, the most uptight director maybe in history, transforming the character into a universal symbol of societal decay. Pasolini, neither a sentimentalist nor a moralist, sees Accattone not as a sympathetic character nor as a symbol. The least judgmental director maybe ever, Pasolini conceives his characters entirely in terms of their outward behavior, and not in moral terms. He neither psycho-analyzes nor seeks to "understand" his characters. He simply presents them as they are, warts and all.

It was always the purpose of Neo-Realism to present life as it was lived, not life as it was imagined by screenwriters, directors and actors, and there are few more successful ventures in this regard than Accattone. The film's main triumph is in its atmosphere. The Roman days have never seemed so sun-bleached, so arid and oppressive; its nights never so mysterious, so full of inexpressible longing (not even in Henry James). The characters seem bound to this world in a palpable way, their faces (shot by expert cinematographer Tonino Delli Colli) mirroring the desolation, the hopelessness, the strangeness of their surroundings. The movie's physicality, as always with Pasolini, is striking. But pure physical vigor, pure atmosphere isn't enough. Where Pasolini comes up short is in assembling the parts of his film into something with real emotional breadth. His first feature shows him already on his way to being a master of the image, but also shows that he had a lot to learn about being a master of cinematic rhythm. The strange blend of primitivism and modernism is already there but the command is not. It's a film that works well in the moment but feels thin as a whole. It's a triumph of Neo-Realist technique but it only half-succeeds as a film.

Half-successful Pasolini is still better than the best most directors have to give. If you can portray a character as repulsive, as boorish and ego-maniacal as Accattone - a character with few if any redeeming features - for two hours without alienating your audience...well, chalk one up for the director who can do that. Especially one who manages the trick without resorting to sentimental contrivance or the kind of false significance people like Fellini always tried to drum up by filling their movies with obvious symbols, the sorts of things art-film zombies love because it gives them a chance to show their alleged smarts. Pasolini never flatters his audience but he never sneers at them either. He attempts to neither ingratiate himself with the public nor antagonize it in the manner of certain self-important avant-gardists. The best artists look for what interests them in a piece of material, not worrying whether their ideas, their approach, their style is accessible to the public at large, or critics, or scholars, or their grandmothers or anyone else. Accattone shows Pasolini on the road that would make him one of cinema's best directors - a road traveled by precisely one person, Pasolini himself.

61 of 71 people found this review helpful.  Was this review helpful to you?

Message Boards

Recent Posts
Accatone is INCREDIBLE Ninfica
subtitles jars_ki
Accattone's end resembles Michel Poiccard's from À bout de souffle natsnock
Woman with whom Maddelena lived ccherry-1
116 min. version ??? fluffhead34
Discuss Accattone (1961) on the IMDb message boards »

Contribute to This Page

Create a character page for: